2016 Tony Award Predictions: Best Play and Musical

This is it. Without question the two most coveted awards in any given Broadway season are the Tonys for Best Play and Best Musical. Why? In addition to the validation they provide, no other awards have such a measurable and immediate effect on a show's financial fortunes and future life. Winning Best Musical a couple years back turned A Gentleman's Guide to Love and Murder from a struggling show into a bonafide hit, one which has since turned a profit and is currently touring the country. A win in either of the below categories also greatly increases interest in any potential tours and regional productions, which is where a lot of the shows make the majority of their money.

Both races have pretty clear front runners at this point, but I will still use my patented combination of personal opinion and industry buzz to do my best to predict the winners. And since the Tonys are not infallible (in no way is The Music Man a better show than West Side Story, which it beat in the Best Musical race of 1958), if I disagree with the likely winner I will be sure to say so in the comments.

Warning: Occasional snark and plenty of speculation to follow.

Best Play

The ensemble of The Humans, one of the rare Broadway plays to open without a major star to help drive ticket sales.

Nominees: Eclipsed, The Father, The Humans, King Charles III

Fun fact about this year's Tony-nominated playwrights: all are making their Broadway debuts, and all are under 40 years old. Whoever wins will be starting their Broadway career on quite a high, which is certain to make for some extra emotional soundbites throughout the night. 

The general consensus is that Stephen Karam's The Humans will be the big winner here, a sentiment that's difficult to argue against. Karam's work has been acclaimed since his first Off-Broadway play as part of Roundabout Underground, a program specifically designed to groom up and coming playwrights, and although relatively young Karam is already quite respected among the New York theatrical community. The Humans was also a Pulitzer Prize finalist this year, increasing its profile and chances at the big award.

But I wouldn't completely rule out Eclipsed, an expertly crafted show that arrived just as the topic of diversity in entertainment reached a fever pitch. Written, directed, and starring women of color, the harrowing Liberian Civil War drama is a shining example of what can happen when people of different backgrounds are allowed to create theatre. I personally don't think it will manage to overtake The Humans, but it certainly has a better chance than The Father (which has primarily been lauded for Frank Langella's performance) or the long-closed King Charles III.

Will & Should Win: The Humans

Best Musical

Hamilton, a little show no one has heard of, looks poised to become this year's Tony-winning Best Musical

Nominees: Bright Star, Hamilton, School of Rock, Shuffle Along, Waitress

Let's be honest, there's really nothing to discuss here. Hamilton has had this award in the bag since it announced plans for a Broadway transfers last spring. And ignoring all the hype surrounding the cultural juggernaut, I must say the show earns this and every other award it has won by virtue of being one of the smartest, tightest pieces of musical theatre writing of the past 20 years. The show's much discussed rap and hip hop score isn't just good in the context of Broadway; it stands with some of the best of the music industry, as evidence by the huge number of musical celebrities that have seen and enjoyed the production and the cast album's unprecedented rise to the top of the Billboard rap charts. And given the huge amount of material the show has to cover (the complete life of one of our country's Founding Fathers), the narrative's ability to remain crystal clear while still providing endless texture and enough depth to reward repeated viewings is all the more impressive.

I think the biggest question is how the Best Musical nominations (and accompanying telecast performances) affect the other shows in this category. School of Rock and Waitress don't appear to need much help, with both having sold extremely well since opening. Shuffle Along is certainly an ambitious piece of musical theatre, and the fact that it has been selling so well and achieved such critical acclaim makes it appear the history based musical has a long life ahead of it. The show that could use a boost the most is the struggling Bright Star, which has been very forthcoming about the financial investments its high profile writers have made to keep the show afloat through the Tony broadcast. Hopefully a solid musical performance during the ceremony will boost the show's ticket sales enough to keep it open through the summer.

Will & Should Win: Hamilton

And that concludes my predictions for the 2016 Tony Awards! Tonight we'll find out how well or poorly I did, and check back early next week for my thoughts on the results and this Broadway season in general. Until then, feel free to agree or disagree with my predictions in the comments, and check out the links below for the rest of my Tony coverage.

Nominations React

Best Book and Score

Best Direction and Choreography

Best Featured Actor

Best Featured Actress

Best Actor

Best Actress

Best Revival

2016 Tony Award Predictions: Best Actor

The Tony Awards are less than a week away, so it's time to really ramp up our prediction articles here at Broadway, Etc. The remaining categories are arguably the most prestigious, with the Best Actor/Actress and production categories having the greatest effect on both individual shows and entire careers. Winning a Tony in one of the leading performance categories definitely opens up a host of career opportunities, and can turn a relative unknown into a bankable star capable of opening a big budget production on name recognition alone.

Although etiquette typically dictates "ladies first," we're actually going to start with the Best Actor candidates, as the two Best Actress categories tend to be more eagerly anticipated by the theatrical community. Which takes nothing away from the incredible achievements of this year's nominated men, who have delivered some truly stunning performances over the past 12 months. As always, I will use a combination of personal observation and gut feeling to determine the most likely winner, and if that person doesn't align with who I would personally vote for I will make sure to point it out in my analysis.

Warning: Occasional snark and plenty of speculation to follow.

Best Actor in a Play

Frank Langella in Manhattan Theatre Club's production of The Father

Nominees: Gabriel Bryne, Long Day's Journey Into Night; Jeff Daniels, Blackbird; Frank Langella, The Father; Tim Pigott-Smith, King Charles III; Mark Strong, A View from the Bridge

The further into awards season we get, the more Frank Langella appears to have a lock on this award. The three-time Tony-winner has received virtually every Best Actor award in existence for his universally praised performance as an aging man dealing with the onset of dementia, a feat even more impressive when you consider that many critics weren't exactly enthralled with The Father as a play. 

Looking at the rest of the nominees, I don't really see any viable challenges. Tim Pigott-Smith's acclaimed turn in the title role of King Charles III seems like ages ago, as the show closed before most of the other nominated productions even opened. Jeff Daniels certainly earned his share of critical accolades for bringing a large measure of humanity to a former child molester, but the overriding feeling towards Blackbird seems to be one of respect rather than outright enjoyment. When push comes to shove, most Tony voters go with the show/performance that excites them the most, something that rarely comes from a production they don't feel passionately about. Gabriel Bryne does brilliantly subtle work as patriarch James Tyrone in Long Day's Journey Into Night, but has been largely overshadowed in people's minds by costar Jessica Lange. If anyone is going to give Langella a run for his money, it's Mark Strong for the critically beloved A View from the Bridge, but that show is probably too long gone for Strong to be truly competitive.

Will & Should Win: Frank Langella, The Father

Best Actor in a Musical

Aaron Burr, sir: Leslie Odom, Jr. in Hamilton.

Nominees: Alex Brightman, School of Rock; Danny Burstein, Fiddler on the Roof; Zachary Levi, She Loves Me; Lin-Manuel Miranda, Hamilton; Leslie Odom, Jr., Hamilton

This is actually one of the most competitive, unpredictable races of the night. I feel fairly confident in ruling out first-time nominee Alex Brightman, mostly due to the strength of his competition rather than any fault in the actor's by all accounts fantastic performance. And while I and many others absolutely *adored* Zachary Levi's pitch perfect work in Roundabout's fantastic She Loves Me revival, the TV star turned Tony Award-nominee also feels like an extreme long shot to win.

Many people seem to think being the creative genius behind this season's presumptive Best Musical Hamilton makes Lin-Manuel Miranda likely to win this award, but I actually think it hurts his chances at a Best Actor victory. Tony voters know he will be walking away with several writing awards Sunday night, and therefore will likely opt to spread the wealth around in this category. Also, with all due respect to Miranda, his is a very good performance competing against several extraordinary ones, and if he were to win here it would be a case of hype overriding merit.

I think this race will ultimately boil down to Leslie Odom, Jr.'s fascinating Aaron Burr versus Danny Burstein's transfixing Tevye. Burstein has been a staple of the Broadway community and the Tony Awards for the better part of a decade, with many (myself included) feeling he is long overdue for his first win after five previous nominations. Six proved to be the magic number for Kelli O'Hara, who finally won the Tony for her work in The King and I last year, and I can easily see a similar outcome here (complete with the accompanying standing ovation). Yet Leslie Odom, Jr. is delivering a star making performance in megahit Hamilton, and the momentum behind that show cannot be underestimated. Further helping Odom, Jr.'s case is the fact that Hamilton is much more universally beloved than the latest incarnation of Fiddler, which despite strong critical notices doesn't seem to inspire much passion in anyone describing it.

My gut says that Odom, Jr. just barely wins this award, but my gut also said Kristin Chenoweth would win last year. And if I'm being totally honest, I would probably vote for him too if forced to choose. Hamilton allows Odom, Jr.'s performance to be exciting in a way the somewhat staid Fiddler doesn't allow Burstein's to be, and I think that will ultimately give Odom, Jr. the edge in the night's closest race.

Will & Should Win: Leslie Odom, Jr., Hamilton

Extremely Close Second: Danny Burstein, Fiddler on the Roof

Who are you rooting for in the hotly contested Best Actor in a Musical category? Think any of the play nominees can seriously challenge Frank Langella? Let me know in the comments, and check back throughout the week for the rest of my Tony predictions. And in the meantime, catch up on my previous coverage below:

Nominations React

Best Book and Score

Best Direction and Choreography

Best Featured Actor 

Best Featured Actress

2016 Tony Awards Predictions: Best Featured Actress

The 2016 Tony Awards get closer every day, and we are now deep into my annual prediction article series. Having already tackled some of the behind the scenes races and the Featured Actors, today the hardworking Featured Actresses get their time in the spotlight. As always, I will do my best to predict who is the most likely to win, and if I feel another individual is more deserving than the likely winner I will make sure to point them out. Read on to find out my thoughts on some of this year's most exciting races!

Warning: Occasional snark and plenty of speculation to follow!

Best Featured Actress in a Play

Megan Hilty and her plate of sardines in Roundabout's Noises Off.

Nominees: Pascale Armand, Eclipsed; Megan Hilty, Noises Off; Jayne Houdyshell, The Humans; Andrea Martin, Noises Off; Saycon Sengbloh, Eclipsed

This category is stacked with some amazing talent, to the point where it would be difficult to argue against any of the nominated actresses winning. When you have a category where two-time Tony-winner Andrea Martin appears to be the least competitive entrant, you know you are dealing with some amazing performances.

Personally, my money is on Megan Hilty, who took the same general outline that helped Annaleigh Ashford win this category last year (quirky oddball character in an ensemble farce) and turned it up to 11, resulting in one of the most consistently side-splitting performances I've ever seen. Every single gesture and inflection of Hilty's was perfectly calibrated for maximum comedic effect, and I don't think a performer has generated a higher number of belly laughs on Broadway since the original company of The Book of Mormon. Both Pascale Armand and Saycon Sengbloh are excellent in Eclipsed, and I would be genuinely happy for either actress to win, but I suspect this is a case where vote splitting actually will make both performers less competitive than they would be if either had been nominated on their own. And while I suspect many people have a deep respect for Jayne Houdyshell's nuanced, naturalistic performance in The Humans, I think Hilty generated more excitement in a role that seems to scream Tony Award.

Will & Should Win: Megan Hilty, Noises Off

Special Mention: Saycon Sengbloh, Eclipsed

Best Featured Actress in a Musical

Renee Elise Goldsberry as Angelica Schuyler in Hamilton

Nominees: Danielle Brooks, The Color Purple; Renee Elise Goldsberry, Hamilton; Jane Krakowski, She Loves Me; Jennifer Simard, Disaster!; Adrienne Warren, Shuffle Along

With all due respect to the other nominees, there is a runway favorite in this category, and her name is Renee Elise Goldsberry. The actress is simply sensational as the fiercely independent Angelica Schuyler in Hamilton, whether she's encouraging her sisters to "work" during "The Schuyler Sisters" or trying to entice Hamilton away from said work during "Take a Break." And her showstopping, jaw dropping performance of "Satisfied" is absolute perfection, the kind of legendary turn that recalls what it must have been like to witness Audra McDonald sing "Your Daddy's Son" in the original company of Ragtime.

That is not to say the other actresses aren't deserving. Adrienne Warren is a standout during her two big numbers in Shuffle Along, and gains extra points for the role being such a complete 180 from her last Broadway appearance in Bring It On. I have long admired Jane Krakowski for her impeccable comedic timing on the TV shows 30 Rock and Unbreakable Kimmy Schmidt, and she demonstrates an unbelievable range of emotion and skill during her supporting turn in Roundabout's enchanting revival of She Loves Me. I will admit to being less taken with Danielle Brooks' somewhat one-note performance in The Color Purple, but the actress is undeniably talented and certainly earned her place among this year's nominees. And while I didn't see Jennifer Simard in Disaster, the video of her final performance making the rounds proves that she was a force to be reckoned with. In another year, any of these women might be a front runner, but this year it is all about Goldsberry.

Will & Should Win: Renee Elise Goldsberry, Hamilton

Special Mention: Jane Krakowski, She Loves Me

Agree? Disagree? Let me know in the comments, and be sure to check back soon for my thoughts and predictions on the Best Actor and Actress races. Plus, catch up on the rest of my 2016 Tony Award coverage by clicking on the links below:

Nominations React

Best Book and Score

Best Direction and Choreography

Best Featured Actor

2016 Tony Award Predictions: Best Featured Actor

The Tony Awards are less than 2 weeks away, and my annual prediction articles have now reached what I like to call the Big 12 categories. The 8 acting and 4 production races always seem to be the most discussed and debated of any Tony season, possibly because these awards have the greatest affect on the business of Broadway going forward. A Best Musical or Best Play winner often ends up with a much longer life on both Broadway and beyond than it might otherwise have had, and performers who are recognized with Tony wins generally (but not always) have access to a greater range of options and opportunities.

Today we'll look at the Featured Actor races, whose eclectic mix of performances often make for some of the hardest to predict races in any given season. As always, I will do my best to determine who is most likely to win, and if that person doesn't match up with who I think is the most deserving I will be sure to point it out in my analysis. Let's get on with the show!

Warning: Occasional snark and plenty of speculation to follow.

Best Featured Actor in a Play

Reed Birney as patriarch Eric Blake in the much praised, Pulitzer Prize finalist The Humans.

Nominees: Reed Birney, The Humans; Bill Camp, The Crucible; David Furr, Noises Off; Richard Goulding, King Charles III; Michael Shannon, Long Day's Journey Into Night

I must admit I'm working primarily off of speculation here, as I haven't seen the majority of nominees in this category. I think Richard Goulding has the biggest set of obstacles to overcome, as he wasn't on many people's radar prior to the nominations being announced and his show has been closed the longest. Being in a closed show also greatly hurts the chances of Noises Off's David Furr, although I think enough Tony voters have strong impressions of that first rate revival to keep Furr in the conversation. Meanwhile, Bill Camp has the advantage of being in a currently running production, and although The Crucible doesn't have the most passionate supporters, producer Scott Rudin has major influence within the industry and has helped long shot nominees score wins in the past.

But Rudin is also behind The Humans, a play industry insiders are much more excited about. It is also a rare Rudin production to not be centered around a Hollywood star or celebrity author, which makes me believe it's a passion project and something he will campaign for heavily. The Humans also marks the latest in a string of critically acclaimed performances for previous nominee Reed Birney, a beloved character actor whose profile continues to rise, making him the most likely winner. But one cannot discount Michael Shannon's extraordinary performance in Roundabout's acclaimed Long Day's Journey Into Night, with the film star creating probably the most nuanced and fascinating performance of that show's four leads. If Birney loses (unlikely, but possible), I expect it to be to Shannon.

Will & Should Win: Reed Birney, The Humans

Best Featured Actor in a Musical

Daveed Diggs (left) and Lin-Manuel Miranda in Hamilton.

Nominees: Daveed Diggs, Hamilton; Brandon Victor Dixon, Shuffle Along; Christopher Fitzgerald, Waitress; Jonathan Groff, Hamilton; Christopher Jackson, Hamilton

Simple math proves this category is likely to go to someone from Hamilton, as three out of the five nominees come from that hip-hop musical juggernaut. Even with the possibility of vote splitting, Daveed Diggs, Jonathan Groff, and Christopher Jackson have such a head start in this race I can't imagine Brandon Victor Dixon or Christopher Fitzgerald snatching the award from them. I personally don't quite understand what about Dixon's performance in Shuffle Along was deemed nomination-worthy over his costars (was it just his character's proximity to Audra McDonald, the show's clear star?), and think he is the least likely winner. And while I sincerely hope hardworking, consistently hilarious three-time nominee Fitzgerald wins a Tony Award at some point in his career, it just doesn't feel like this is his year.

Jonathan Groff was certainly memorable in his short but sweet turn as King George in Hamilton, and many other performers have won featured Tonys for similarly small amounts of stage time. But compared to Daveed Diggs and Christopher Jackson, who both have huge roles that almost rival the show's leads in terms of stage time and complexity, it's very hard to argue that Groff is the most deserving winner. And while I certainly enjoyed Jackson's take on George Washington, Daveed Diggs' dual roles as Marquis de Lafayette and Thomas Jefferson have screamed Tony Award since the show first premiered Off-Broadway last year. Diggs nails every second of his performance, a dynamic tour de force that you can't take your eyes off of. He is the clear frontrunner here, and I will be shocked if he doesn't win on June 12th.

Will & Should Win: Daveed Diggs, Hamilton

In our next installment it's the featured actresses' turn to shine, but until then you can catch up on the rest of my 2016 Tony coverage by clicking the links below. And don't forget to share your thoughts in the comments!

2016 Tony Nominations React

Best Book and Score

Best Direction and Choreography

2016 Tony Award Predictions: Direction and Choreography

Tony season is upon us, and all of Broadway is buzzing with excitement in preparation for the industry's big night. While speculation on winners seems more muted this year due to the presumed dominance of Hamilton, the fact of the matter is we had a very strong season with a lot of Tony-worthy work. Combined with Tony voters' recent penchant for spreading the wealth (you have to go back to the 2012 ceremony to find a single production that took home more than 5 awards), it's entirely possible Lin-Manuel Miranda's juggernaut loses a couple races. Not to mention the play categories, which Hamilton can't win and are fairly competitive this year.

As always, I will do my best to predict the winners in the direction, production, and acting categories. And since who will win does not always match up with who deserves to win, I will make sure to point out any discrepancies in my analysis.

Warning: Occasional snark and plenty of speculation to follow.

Best Direction of a Play

Mark Strong (center) and the cast of A View from the Bridge.

Nominees: Rupert Gould, King Charles III; Jonathan Kent, Long Day's Journey Into Night; Joe Mantello, The Humans; Liesl Tommy, Eclipsed; Ivo Van Hove, A View from the Bridge

It's an incredibly competitive season when it comes to the directing races, and although it sounds cliche this year it truly is an honor just to be nominated. Tony voters don't have an easy decision to make when it comes to Best Direction of a Play, as this season in particular saw a number of bold directorial concepts driving some of the best reviewed works of the season.

I am a bit puzzled by Jonathan Kent's inclusion here, as his directorial choices for Long Day's Journey Into Night were at the heart of what didn't work for me in that revival (namely, the inconsistent acting styles and poorly conceived blocking). I think he can be ruled out of the running, as can Rupert Gould, mostly due to the fact that King Charles III has been closed long enough it appears to have faded from most people's memory. Liesl Tommy has done some absolutely lovely and subtle work on Eclipsed, but I fear she probably didn't put enough of her own personal stamp on the show to win, because whether it's fair or not the Tonys have a tendency to recognize flashier nominees. 

Which would also seem to rule out two-time Tony-winner Joe Mantello for the understated The Humans, but that production is one of the best reviewed plays of the season and a win for Mantello could be viewed as acknowledge of his work on it and the well respected Blackbird. There are few directors who can coax honest, complex performances out of their actors like Mantello, an exceedingly rare skill everyone in the industry recognizes and admires. But I ultimately think Tony voters will reward avante garde director Ivo van Hove, who afters years of working abroad and Off-Broadway burst onto the Great White Way this season with two incredibly well received revivals of Arthur Miller classics. Giving van Hove the prize allows voters to recognize the work he's done on both A View from the Bridge and the currently running The Crucible, the culmination of a season of boundary pushing work from the Belgian director.

Will & Should Win: Ivan van Hove, A View from the Bridge

Best Director of a Musical

The cast of the little musical that could, Hamilton.

Nominees: Michael Arden, Spring Awakening; John Doyle, The Color Purple; Scott Ellis, She Loves Me; Thomas Kail, Hamilton; George C. Wolfe, Shuffle Along

Wow. The strength of this year's Best Director of a Musical nominees is just astounding. While many people expect Thomas Kail to take this award for his fascinating, fluid staging of Broadway's latest blockbuster, I suspect the actual vote will be a lot closer than expected, and if there's going to be a surprise on Tony night this category might be it. 

Scott Ellis' production of She Loves Me is practically perfect, one of the best representations of that musical gem we're ever likely to see, and his light but assured hand was essential in achieving that level of quality. John Doyle completely reconceived The Color Purple from the ground up, reclaiming it in the eyes of many critics who were underwhelmed by the original production. I have a couple of nitpicks with Doyle's directorial choices, but overall it is an outstanding production that could not have happened without him. And I'm even more impressed with Michael Arden's work on Spring Awakening; his use of American Sign Language didn't feel like a gimmick, but actually added new layers of meaning and beauty to a piece which became as much about the alienation of the deaf characters from the rest of society as it did about angsty teens singing rock songs.

But in the end, I do think Hamilton will prevail, and it's hard to argue with that outcome. The show is one of the single most electrifying evenings of theatre I've ever experienced, and the show's narrative clarity and theatrical effectiveness comes as much from Kail's staging as it does from Lin-Manuel Miranda's words and music.

Will & Should Win: Thomas Kail, Hamilton

Special Shout Out: Scott Ellis, She Loves Me

Best Choreography

Leslie Odom, Jr. and the cast of Hamilton performing "The Room Where It Happens."

Nominees: Andy Blankenbeuhler, Hamilton; Savion Glover, Shuffle Along; Hofesh Shechter, Fiddler on the Roof; Randy Skinner, Dames at Sea; Sergio Trujillo, On Your Feet

Can I just say how refreshing it is to see such strong nominees in this category? There was a period a few years ago where we were lucky if one musical a season produced Tony-worthy choreography, but ever since Newsies there has been a steady increase in the number of dance heavy shows on Broadway and I couldn't be happier. All of the nominated choreographers have distinctive, exciting styles that created some of the most memorable production numbers of the season.

That said, this is really a two horse race between Andy Blankenbeuhler and Savion Glover, as both men have created a bevy of inventive, pulse pounding routines for their respective shows. Glover's tap choreography is integral to almost all of the most effective moments in Shuffle Along, including the roof raising opening number and the edge of your seat tap battle in the middle of the show's second act. Blankenbeuhler's dancers barely stop moving throughout the entirety of Hamilton's three hour runtime, and for the first time in the previous Tony-winner's career I didn't find the effect distracting. I also adored his lyrical, abstract take on the show's climatic duel between Hamilton and Burr, one of the most beautiful and moving moments in the entire show. As both Blankenbeuhler and Glover already have Tony Awards it's hard to say either one is due, and while I have a *slight* preference for Glover's tap dancing I suspect Hamilton's momentum will bring Blankenbeuhler his second career win.

Will Win: Andy Blankenbeuhler, Hamilton

Should Win: Savior Glover, Shuffle Along

Let me know who you're rooting for in the comments, and be sure to check back soon for further Tony predictions. In the meantime, don't forget to check out my previous commentary below:

Best Book and Score

2016 Tony Award Predictions: Book and Score

The 2016 Tony Awards are less than 3 weeks away, which means it's time for me to get cracking on my annual prediction articles. Many people in the industry are assuming Hamilton will sweep the awards, and while I expect the hip-hop musical to do extremely well on June 12th I think several of the big categories are a lot more competitive than you might expect.

As I do every year, I will be predicting the winner in all of the non-design categories, discussing the pros and cons of each nominee before making my official choice. However, since who will win is an entirely separate concept from who I think should win, whenever those two artists don't line up I will be sure to mention it in my analysis. With that said, let's start out easy and look at two categories that feel like foregone conclusions at this point, Best Book and Best Score.

Warning: Occasional snark and plenty of speculation to follow.

Best Book of a Musical

Lin-Manuel Miranda and the cast of Hamilton

Nominees: Steve Martin, Bright Star; Lin-Manuel Miranda, Hamilton; Julian Fellowes, School of Rock; George C. Wolfe, Shuffle Along

There's a bit of misunderstanding among many theatre fans about what a musical book writer actually does, to the point where the head of the Dramatist Guild actually felt the need to write in to the New York Times to clarify. Many people equate a musical's book with its spoken dialogue, and while that is a part of it a musical's book is really its structure, which is why through-composed works like Rent, Les Miserables, and a little show called Hamilton all have them. And Lin-Manuel Miranda's book for Hamilton is nothing short of genius, effortlessly balancing the sweep of the historical narrative with the emotional journeys of the story's various characters. Every single principle and supporting character has a narrative arc, and they are so deftly handled that you never have trouble tracking the various storylines even when a character disappear for long stretches of time. 

I haven't seen all of the nominees in this category, but I have trouble imagining any of them carrying off the immense difficulty of such a task with the ease and finesse of Miranda (indeed, George C. Wolfe's ambitious but unwieldy book causes a lot of Shuffle Along's more glaring problems). Broadway's favorite writer/composer/performer has this one in the bag.

Will & Should Win: Lin-Manuel Miranda, Hamilton

Best Score

Tony nominees Christopher Jackson and Lin-Manuel Miranda as George Washington and Alexander Hamilton in Hamilton.

Nominees: Steve Martin & Edie Brickell, Bright Star; Lin-Manuel Miranda, Hamilton; Andrew Lloyd Webber & Glenn Slater, School of Rock; Sara Bareilles, Waitress

There are some incredibly worthy nominees in this category, and in a year without a juggernaut like Hamilton any one of them could be a frontrunner to actually win. Bright Star didn't get amazing reviews, but even the naysayers all singled out the bluegrass score as a highlight. School of Rock has been hailed as a return to form for Sir Andrew Lloyd Webber, who love him or hate him has proven repeatedly that he knows how to write hummable, instantly recognizable melodies. And Sara Bareilles' brand of story-driven pop rock always seemed like a natural fit for the world of musical theatre, so it's no surprise to see the Broadway neophyte represented here.

But Hamilton is another beast entirely. Anyone who has heard the cast album can tell you it is compulsively listenable, drawing you in the way few shows can. Lin-Manuel Miranda took musical styles not normally associated with Broadway and made them insanely theatrical, showing a melodic and rhythmic genius that In the Heights only hinted at. The breadth of the score is astounding, from the giddy girl-group excitement of "The Schuyler Sisters" to the Brit pop of "You'll Be Back" to the soulful R&B influenced "Satisfied," a song which may be the most bravura example of musical theatre composition from the past ten years. The endlessly inventive score sees US Cabinet members debating via rapid fire rapping and secret government meetings backed by a pounding club beat, all wrapped up in some of the most brilliant lyrics to grace the Broadway stage. The score reveals new layers upon each hearing, be it a sly lyrical reference to Gilbert and Sullivan or a melodic motif that appears in an unexpected bit of underscoring, making Miranda the clear favorite here.

Will & Should Win: Lin-Manuel Miranda, Hamilton

Agree? Disagree? Let me know in the comments, and check back throughout the next few weeks for more Tony predictions.

2016 Tony Nominations React

Former Book of Mormon costars Nikki M. James and Andrew Rannells announce the 2016 Tony Award nominees.

They're here! The 2016 Tony Award nominations have been announced, and now the awards season can begin in earnest (you can view a full list of the nominees here). We'll get to my reactions to yesterday's news in a moment, but first it's time to see how I did with my annual predictions.

Below are the actual nominees in the Big 12 categories I predicted over the past couple of weeks. Nominees with an asterisk are ones I correctly prediction; if the asterisk is in parentheses, that means I listed the nominee as a wildcard pick but not an official choice.

Best Musical
Bright Star
Hamilton*
School of Rock(*)
Shuffle Along*
Waitress*

Best Play
Eclipsed*
The Father*
The Humans*
King Charles III*

Best Musical Revival
The Color Purple*
Fiddler on the Roof*
She Loves Me*
Spring Awakening*

Best Play Revival
Blackbird*
The Crucible*
Long Day's Journey Into Night*
Noises Off*
A View from the Bridge*

Best Actor in a Musical
Alex Brightman, School of Rock*
Danny Burstein, Fiddler on the Roof*
Zachary Levi, She Loves Me(*)
Lin-Manuel Miranda, Hamilton*
Leslie Odom, Jr., Hamilton*

Best Actor in a Play
Gabriel Byrne, Long Day's Journey Into Night*
Jeff Daniels, Blackbird*
Frank Langella, The Father*
Tim Pigott-Smith, King Charles III*
Mark Strong, A View from the Bridge*

Best Actress in a Musical
Laura Benanti, She Loves Me*
Carmen Cusack, Bright Star(*)
Cynthia Erivo, The Color Purple*
Jessie Mueller, Waitress*
Phillipa Soo, Hamilton*

Best Actress in a Play
Jessica Lange, Long Day's Journey Into Night*
Laurie Metcalf, Misery
Lupita Nyong'o, Eclipsed*
Sophie Okonedo, The Crucible
Michelle Williams, Blackbird*

Best Featured Actor in a Musical
Daveed Diggs, Hamilton*
Brandon Victor Dixon, Shuffle Along 
Christopher Fitzgerald, Waitress*
Jonathan Groff, Hamilton*
Christopher Jackson, Hamilton

Best Featured Actor in a Play
Reed Birney, The Humans*
Bill Camp, The Crucible
David Furr, Noises Off*
Richard Goulding, King Charles III 
Michael Shannon, Long Day's Journey Into Night*

Best Featured Actress in a Musical
Danielle Brooks, The Color Purple*
Renée Elise Goldsberry, Hamilton*
Jane Krakowski, She Loves Me*
Jennifer Simard, Disaster!
Adrienne Warren, Shuffle Along

Best Featured Actress in a Play
Pascale Armand, Eclipsed*
Megan Hilty, Noises Off*
Jayne Houdyshell, The Humans
Andrea Martin, Noises Off*
Saycon Sengbloh, Eclipsed*

For those keeping score at home, I correctly predicted 45 out of 58 nominees, or 78%. When wildcard picks that made the cut are taken into account, that increases to 48 out of 58 correct predictions, or 83%. This is slightly better than my 77% success rate last year when wildcards were taken into account.

I'm pretty proud of these results. I had a 100% accuracy rating in the Best Play, Best Musical Revival, Best Play Revival, and Best Actor in a Play categories, and wildcard picks allow me to add Best Actor and Actress in a Musical to that group. I'm a little mad at myself for missing Featured Actress in a Play thanks to my own oversight; I was going to include Jayne Houdyshell in my Best Actress predictions until I realized she wasn't eligible, and made a mental note to put her in Featured Actress but forgot.

When it comes to surprises in this year's nominees, there are a few big ones. I would say the most shocking is the strong showing of Bright Star, which managed 5 overall nominations including high profile nods in the Best Musical and Best Actress in a Musical categories. The Steve Martin-penned, bluegrass-scored musical has been struggling at the box office since previews began, and I honestly had it pegged as being one of the first shows to post a closing notice after a poor showing this morning (that dubious honor unfortunately went to Disaster!). These nominations mean Bright Star's producers will surely keep things running through the Tony ceremony, and it may even be the start of the show's fortunes turning around.

I am honestly gobsmacked to see Audra McDonald excluded from the Best Actress in a Musical race. This is only the second time in her lengthy career that the most awarded performer in Tony history has failed to net at least a nomination in her eligible category. This is even more puzzling considering that Shuffle Along did very well overall, with 10 nominations spread throughout multiple categories.

It's also clear that Tony voters did not go for American Psycho as much as I thought they would. While I have heard the show is divisive, its strong showing in the other awards races tricked me into assuming it would make a much stronger showing here. We'll see if that has any affect on the show's box office over the next few months.

Some other noteworthy thoughts:

-Hamilton can add another record to its lengthy list of achievements. Thanks to multiple acting nods, it is now the most nominated show in Tony history with 16 total nominations, breaking the record jointly held by The Producers and Billy Elliot. If Hamilton manages to sweep the awards, it will have won a total of 13 statuettes, thereby also breaking The Producers' record for most Tony wins. I find this unlikely thanks to stiff competition in the acting categories, but it is possible!

-I am *thrilled* to see Zachary Levi make the cut in the Best Actor in a Musical race. He absolutely nailed his role in what is probably my second favorite production of the season (after Hamilton of course), and 110% deserves this nomination.

-There is obviously some close competition in the production categories, as the only way to force category expansions is by having very close votes during the nominations process. Since Best Musical, Best Musical Revival, and Best Play Revival all have one more than the minimum number of slots required, several shows must have been neck and neck.

-Overall I am extremely happy with these nominees. The only person I'm inclined to say was snubbed is Audra McDonald, who is excellent as always in Shuffle Along (review coming soon!), but having not seen all the nominated performances I cannot definitely say she was unfairly excluded from what is a very competitive category.

*Sidenote: I only consider someone having been "snubbed" if I can look at one of the nominated performers and honestly say I would exclude the nominee for the person who was overlooked.

Over the coming weeks, there will be plenty more Tony coverage here at Broadway, Etc., including my annual predictions of the winners. This is shaping up to be one of the most exciting, competitive seasons in recent memory even with the presumed dominance of Hamilton in the writing and production categories, and I can't wait to discuss it with all of you. Keep an eye on this space for more predictions and reviews as the countdown to June 12th has officially begun!

2016 Tony Nominee Predictions: Part I (Production)

And just like that, Tony season is almost upon us! It's hard to believe that in just a few short days, Patina Miller and Andrew Rannells will wake up at an ungodly hour and announce the names of those competing for Broadway's highest honor. And just like every year, I plan on predicting, discussing, and dissecting every minute of what has evolved into one of the most exciting theatre seasons in years.

The number of positively reviewed productions this year is quite astounding. Very few shows have been outright panned by the critics, making a lot of this year's Tony races unpredictable in the most exciting way possible. Even with Hamilton looking to dominate the new musical awards, there's still plenty of worthwhile competition for the other Best Musical slots, not to mention the acting and play categories. All of this makes predicting the nominees a challenge, but that's never stopped me before!

As always, I will do my best to predict the nominees in the Big 12 Tony categories (my term for the 4 production and 8 acting awards). Thanks to the updated Tony rules, all of these categories have a variable number of slots available, which makes things extra tricky. Given past history, I will assume the Tony committee will err towards a smaller number of nominations, but I will always pick a Wildcard nominee that I think will either force a category expansion or replace one of my official picks.

We'll find out who actually gets nominated on May 3rd, but in the meantime here are my best guesses as to which productions will find themselves competing for Best Musical, Play, and Revival.

UPDATED: Shuffle Along has officially been ruled a new musical, so I have updated my predictions accordingly.

Best Musical

Lin-Manuel Miranda in a little show no one's ever heard of called Hamilton.

Hamilton's place in this category is assured; pretending otherwise is ludicrous, especially after its recent Pulitzer Prize win. The real question is what other shows will make the cut, with some varied and exciting options presenting themselves.

Both On Your Feet and School of Rock managed to snag surprisingly encouraging reviews when they opened this fall, and either production could well be among next week's Best Musical nominees. I personally feel School of Rock is the more respected of the two shows, and a welcome return to form for theatrical titan Andrew Lloyd Webber, but On Your Feet's Outer Critic's Circle nomination (and School of Rock's absence) leave both shows neck and neck.

As for the spring shows, Waitress and American Psycho are the top two contenders, and I expect both to be among this year's nominees. Waitress is virtually assured a slot, thanks to its almost universally positive notices. I also can't see the Tony committee failing to nominate the first Broadway musical with an entirely female creative team in a season where diversity both on and off stage has been such a hot button topic. American Psycho was a more divisive show, but those who enjoyed it seemed to really enjoy it, and thanks to the Tony's weighted nomination system being a few people's top choice counts for more than being many people's third or fourth choice.

And then there's Shuffle Along. The producers of this star-studded musical are pushing to have it compete in the Revival category, presumably to avoid direct competition with Hamilton. This seems like a dubious argument to me, as director George C. Wolfe has written an entirely new libretto that turns the show into a backstage musical about the genesis of its 1921 namesake. In the past, heavily rewritten revivals have at least kept the same plot and characters as the originals, so I expect the nominations committee to deem these changes enough to make Shuffle Along a new musical, putting it in contention for Best Musical. (This is exactly what happened.)

Nominees: American Psycho, Hamilton, Shuffle Along, Waitress
Wildcard: School of Rock

Best Play

The Broadway cast of Stephen Karam's The Humans.

Quite honestly, this is a much less interesting and competitive category than Best Musical. Given the strength of its reviews and the fact that it was named a finalist for the 2016 Pulitzer Prize, I think The Humans is the frontrunner not just for the nomination but for the win. I will also be very surprised if Danai Gurira's much praised Eclipsed fails to score a Best Play nomination. And although the show has been closed for several months at this point, King Charles III made such a strong impression on critics this past fall it seems all-but-guaranteed a nomination.

Which leaves the fourth nomination slot up for grabs, with several viable options available. The Father recently scored Drama League and Outer Critics' nominations for Best Play, and seems to be the most likely contender. That said, Roundabout Theatre Company's adaptation of Therese Raquin had enough supporters that it cannot be ruled out of the competition, and the well reviewed An Act of God is technically part of this season despite opening last May. The fact that it is about to begin a return engagement starring Sean Hayes will remind people that it exists, giving the satiric play a chance at a wildcard spot in this year's race.

Nominees: Eclipsed, The Father, The Humans, King Charles III
Wildcard: Therese Raquin

Best Musical Revival

Two time Tony-nominee Gavin Creel and Tony-winner Jane Krakowski in Roundabout's sterling She Loves Me revival.

Let me preface this by saying that it has been an absolutely *stellar* year for musical revivals. As far as I'm concerned, every production eligible in this category is worthy of at least a Tony nomination, and I'm not sure I've ever felt that way about any category before. Unfortunately, not every show can be nominated, which means at least one deserving production will be overlooked when the Tony committee announces their 3-4 nominees.

Let's start with sure things. John Doyle's minimalist staging of The Color Purple won across the board raves, and in the eyes of many critics redeemed the show from its less well-received premiere (which I personally loved). It is a shoe-in for a nomination, and at this point is probably the frontrunner to win. She Loves Me is also a practically perfect production of a less well-known musical, and I will be shocked/furious if Roundabout's effortlessly charming revival does not receive at least a nomination.

After those two shows, things get tricky. History has shown time and again that currently running productions do better with the Tony committee, which makes a Fiddler on the Roof nomination highly likely. Yet I would say that after the above-named sure things, the most artistically successful and interesting musical revival this season was the Deaf West production of Spring Awakening. Should this category have the traditional four nominees, then those are your two final slots. Should only three shows get nominated, then I honestly don't know which one the Tony voters will favor, and it will result in some justified cries of "snub" either way. Poor Dames at Sea, while highly enjoyable, seems destined to be forgotten.

Nominees: The Color Purple, Fiddler on the Roof, She Loves Me, Spring Awakening
Wildcard: Dames at Sea

Best Play Revival

Saoirse Ronan and the cast of Ivo van Hove's avant garde The Crucible.

This category is particularly stuffed this year, with a whopping 11 eligible productions competing for the 4-5 available slots. Roundabout's first-rate revival of the hilarious Noises Off looks like a sure thing when it comes to getting a nomination, and although their Long Day's Journey Into Night isn't the top tier production I'd hope for, a decent Long Day's Journey is still better than most other play revivals, making it a strong contender. I suspect that avant garde director Ivo van Hove's two rapturously received Arthur Miller revivals (last fall's A View from the Bridge and the currently running The Crucible) will both get nominated, although there is a *slight* possibility that Tony voters only nominate one in favor of spreading the wealth around.

Unlike most categories, I feel like there is a strong possibility of this race expanding beyond the minimum four nominees. Picking which production gets the fifth slot is tricky however, as most of the other play revivals this season have been liked but not loved. Blackbird's difficult subject matter seemed to be off-putting to a large number of critics, even as they all admitted the show was staged and acted wonderfully. Fool for Love was very well liked when it opened last fall, but given the sheer volume of play revivals this season it will likely be overlooked. And I don't think the community's love of James Earl Jones and Cecily Tyson is quite enough to get The Gin Game nominated, as most reviewers agreed the play had not aged well despite the quality of the performances in it. Blackbird remains my official pick, but its slot could really go to anyone (or disappear all together).

Nominees: Blackbird, The Crucible, Long Day's Journey Into Night, Noises Off, A View from the Bridge
Wildcard: Fool for Love


Agree? Disagree? Let me know in the comments, and be sure to check back in a couple of days to see my Best Actor/Actress predictions!

Extremely Early 2016 Tony Predictions: Part I

The Christmas decorations are packed away, we're beginning to see which New Year's resolutions are actually going to stick, and the weather has become decidedly cold and snowy. It is definitely late January in New York City, which means we're just over halfway through the 2015-2016 Broadway season. As has become tradition here at Broadway Etc., I am once again taking stock of the new crop of fall shows to see which ones are in the best position to be remembered when the Tony Award nominations are announced on May 3rd.

As always, handicapping the Tony Awards in an inexact science, but based on some historical trends along with good old fashioned gut instinct I'm ready to make some predictions. Of course, anything can happen depending on how well or poorly the spring shows are received, but here's my take on how things stand so far.

Best Musical

Thomas Jefferson's (Daveed Diggs) coming home...to the Tony Awards.

I know it's early in the season and there are a *lot* of new musicals scheduled to open in the spring, but I think it's safe to call this category for Hamilton. It is easily the most important musical of the 21st century, and I honestly believe future generations will talk about this show the same way we talk about groundbreaking works like A Chorus Line and Rent. It's also just really fucking good, a near perfect fusion of writing, direction, and performances that has floored everyone who's been lucky enough to snag a ticket. As for what other shows will be competing against Lin-Manuel Miranda's hip-hop juggernaut, at this point only On Your Feet and School of Rock seem to be viable contenders. Whether either makes the cut largely depends on whether the Tony committee ends up selecting four or five Best Musical nominees, as the spring musicals would have to be rather disappointing to not account for at least half of this category. I will give the slight edge to Andrew Lloyd Webber's return to form with School of Rock, as a lot of critics seemed skeptical of their enjoyment of On Your Feet, but regardless of what happens I expect a healthy Broadway and regional life for both productions.

Best Play

The (future) Royal Family, as portrayed in British import King Charles III.

This fall has been fantastic for everything except new plays on Broadway. Of the five eligible productions, only British import King Charles III received the kind of critical accolades that will help Tony voters remember it come May (all of the fall plays will be closed by the time Tony nominations are announced). At this point China Doll and Misery are best known for the shortcomings of their famous headliners - both of whom are rumored to be getting line prompts via earpiece - than for the quality of their scripts, and Our Mother's Brief Affair has been met with the kind of muted enthusiasm that often greets Manhattan Theatre Club productions. The fact that Roundabout's divisive Therese Raquin is even a possibility speaks to the uncompetitive nature of the fall plays, but I suspect King Charles is the only we'll actually be talking about come Tony Tuesday.

Best Revival of a Musical

The Color Purple headliners Cynthia Erivo and Jennifer Hudson are blowing the roof off that theatre nightly.

This has already been an amazing season for musical revivals, and in my opinion every one thus far has been at least nomination worthy. That said, unless something goes horribly wrong I have to imagine that Roundabout's spring revival of She Loves Me makes the cut, and if Shuffle Along is ruled a revival then it stands a strong chance of getting one of the four Best Musical Revival nominations (there aren't enough eligible productions to allow for the addition of a fifth nominee). John Doyle's sensational striped down production of The Color Purple is the safest bet for inclusion in the category, and at this point looks likely to take the whole thing. Bartlett Sher also seems to have a standing invitation to the Tony Awards, and regardless of what you think about the modern dress framing device he added to Fiddler on the Roof the rest of the production is so well done I can't imagine it being left out. At this point, there's a legitimate chance that Deaf West's highly effective Spring Awakening gets ignored to make room for Shuffle Along (the latter's producers are pushing hard for a revival classification), and that seems almost criminal. This is the most competitive by far of the production categories, and is almost certain to result in at least one legitimate snub.

Best Revival of a Play

There's no stronger critical catnip than British actors digging into a meaty drama, as the ecstatic reception of this season's A View from the Bridge proves.

This is the category that tends to change the least between the fall and the spring, as most of the eligible productions are limited runs that have opened and closed by the time winter rolls around. From the fall crop of play revivals, I would say two are almost guaranteed to be among this year's Tony nominees: the critically lauded A View from the Bridge and Noises Off. Should a third play from the fall make the cut, it's a toss up between Fool for Love, The Gin Game, and Sylvia. I will give the slight edge to Fool for Love for being the most respected piece of writing of the bunch, as it is very hard to be competitive in this category without strong writing. Despite the love for stars James Earl Jones and Cecily Tyson, the most common response to this fall's revival of The Gin Game seemed to be, "How did this win the Pulitzer?" Meanwhile, Sylvia is most likely to be remembered for Annaleigh Ashford's star turn as the titular pooch, which could well land the actress among this year's nominees for Best Actress in a Play.


That's my take on where the production categories currently stand. Check back soon for my thoughts on the acting races, and in the meantime don't be afraid to share your thoughts in the comments!

The Best Shows of 2015: Part II

With the impending arrival of 2015, it's time to take a look back at the year that was and assess some of the highlights of the year in theatre. I've already shared 5 of my Best of 2015 picks in my previous post, and today it is time to reveal my picks for the Top 5 shows of the past calendar year. As always, this list is limited to productions which officially opened in 2015 and which I actually saw, so think of it more as a personal favorite list rather than a definitive ranking.

Without further ado, here are my favorite theatrical experiences of 2015!

5) Honeymoon in Vegas

Rob McClure (center) and the cast of Honeymoon in Vegas

Jason Robert Brown just can't seem to catch a break when it comes to his Broadway shows. Just like the criminally ignored Bridges of Madison County (my absolute favorite show of 2014), Honeymoon in Vegas was another stellar musical that just couldn't find an audience. Brown's first attempt at full blown musical comedy, this delightful Vegas-set tale featured a brassy, big band score and the kind of witty, tongue-twisting lyrics the composer is known for. The cast was first rate, especially Rob McClure and Brynn O'Malley as the romantic leads, so I couldn't begin to tell you why the well-reviewed show didn't do better at the box office. Maybe it was the prolonged two-month preview period, which made the show seem like old news by the time it opened in mid-January. Maybe it was the presence of Tony Danza in the cast, which many people seemed to mistake for stunt casting even though the TV star actually turned in a rather appealing performance. Thankfully the show received a cast album, and I suspect that like many of Brown's other works this is a show that will be discovered and cherished by many musical theatre fans for years to come.

4) The Color Purple

Jennifer Hudson leads the cast of The Color Purple in a rousing rendition of "Push Da Button."

There are many reason to praise God for John Doyle's absolutely stunning revival of The Color Purple, but perhaps the biggest blessing of this scaled back version is it has allowed critics to see what I saw while rushing the original Broadway production 10 years ago: The Color Purple is a superbly written emotional sucker punch of a show, a harrowing but ultimately joyous celebration of life and overcoming adversity. This production also finally brought Jennifer Hudson to Broadway, something we've all been waiting for since her Oscar-winning turn as Effie White in the Dreamgirls film. And while Hudson is excellent, the talk of the town is sure to be British newcomer Cynthia Erivo, who blows the roof off the Bernard B. Jacobs Theatre as the beleaguered Miss Celie. Erivo inhabits the role with a commanding stage presence that far exceeds her diminutive frame, and her powerhouse voice turns mere songs into soul rattling epiphanies set to music. Even if the rest of the production was garbage, this Color Purple would be worth seeing for Erivo alone. The fact that the rest of the cast often matches her awe-inspiring commitment and intensity makes this easily one of the best shows of the year.

3) The Hunchback of Notre Dame

Michael Arden and Ciara Renee in Paper Mill Playhouse's The Hunchback of Notre Dame.

The best Disney Theatrical show I've ever seen didn't even make it to New York, instead playing across the river in New Jersey's Paper Mill Playhouse. The long-rumored stage adaptation of Disney's Hunchback of Notre Dame took the most problematic film of the studio's Animation Renaissance and de-Disneyfied it, returning to the darker, more melancholy tone of Victor Hugo's original novel. This approach made all the difference, resulting in a decidedly adult show that didn't shy away from the nastier implications of this Parisian-set tragedy. In providing the villainous Claude Frollo with more morally complex, clearly defined motivations, he actually emerged as an even more monstrous and menacing villain than the cartoonishly evil character in the film (a quality augmented by Patrick Page's excellent performance). And let's not forget Michael Arden's wonderfully effective and thrillingly sung take on the title character, nor Ciara Renee's beguiling gypsy Esmeralda. I ultimately understand Disney's decision not to move the show to Broadway (it is not one of the family-friendly spectacles the company has become known for), but that doesn't lessen the sting of the show's all too brief run. I'm just glad I made the trek out to Jersey before it closed.

2) The King and I

Tony-winner Kelli O'Hara and Tony-nominee Ken Watanabe in Lincoln Center's The King and I. I'll say it again: TONY-WINNER KELLI O'HARA!

Simply glorious. That's the best way to describe the absolutely transcendent Lincoln Center Theatre production of Rodgers and Hammerstein's The King and I, one of the most lavishly produced and lovingly crafter musical revivals I've ever seen. From the second the radiant (now Tony-winner!) Kelli O'Hara makes her entrance on the imposing prow of her ship to the final tableau of Anna and the King of Siam surrounded by the next generation, this expertly handled production remains riveting throughout its three hour runtime. Director Bartlett Sher's genius lies in his ability to radically alter the way a show is performed without appearing to do anything at all, to the point where you leave the theatre convinced his take on the material is what the authors had always intended. This King and I functions as both a family friendly musical entertainment and a highly complex character drama, directly tackles issues such as female empowerment and the nature of rule while providing all the eye-popping visuals audiences have come to expect in a modern musical. Anchoring it all is O'Hara and the supremely talented cast, which also includes the hypnotic Ruthie Ann Miles as the King's primary wife, Lady Thiang. This is as good a production of the Rodgers and Hammerstein classic as we're ever likely to see, and it will hopefully run for a good long while.

1) Hamilton

You know your show has a devoted following when a minor character like Peggy Schuyler (who has maybe 10 lines total) has her own rabid fanbase.

How could anything but Hamilton top my list of 2015's best shows? Lin-Manuel Miranda's hip-hop magnum opus has dominated Broadway websites for the better part of the year, while also crossing over into pop-culture in a way few musicals ever do. Yet the reason Hamilton tops my personal list is not its record-breaking financial success, nor its near ubiquity in the theatrical conversation. The show earns the title of Best Show of 2015 due to the fact that when you strip away all the hype, you are left with a near-perfect piece of theatrical writing, brazenly adventurous and yet hugely respectful of all that has come before. The score is a compulsively listenable work of genius, instantly captivating and yet so richly nuanced that new surprises reveal themselves with each repeated hearing. The cast is simply astounding, from Miranda's commanding performance in the title role to Leslie Odom, Jr.'s star making turn as Aaron Burr to the scene stealing Daveed Diggs in the dual roles of the Marquis de Lafayette and Thomas Jefferson. And let's not forget Phillipa Soo's deeply felt performance as Eliza Hamilton or Renee Elise Goldsberry's revelatory (and Tony-worthy) work as Eliza's sister Angelica. Everyone from the top billed stars to the ensemble - one of the hardest working group of dancer/singers on Broadway - give 110% from start to finish, executing Thomas Kail's brilliant staging and Andy Blankenbuehler's hard-hitting choreography flawlessly. Do whatever you have to secure a ticket and witness theatrical history being made, as Hamilton may well prove to be the Best Show of the Decade.


And that wraps up my look back at the Best Shows of 2015. Looking back, the breadth of the type of shows which have been produced, and their artistic daring, gives me great hope for the future of the industry. This is a year where producers took some major risks, and many of them paid off not only artistically but commercially. An intimate musical about a lesbian coming to terms with her closeted father won the Tony and turned a profit, and a hip-hop musical with a multi-ethnic cast has become the most critically and commercially successful musical in years. Here's hoping for a 2016 that is equally varied and artistically ambitious, and be sure to keep checking Broadway Etc. for coverage of all the latest and greatest the New York theatre scene has to offer.

Happy New Year!